Artist Valerie Blass reimagines an age-old subject in art, the figure, and uses her distinctive artistic vision to create her intriguing sculptures. She manipulates and abstracts the human form until some of her subjects look like entirely different beings. By constructing her artwork from an eclectic variety of different materials, each figure becomes highly stylized and unique. Ceramic, Styrofoam, paint, plaster, and even artificial hair are just some of the materials that can be found making up Blass’s artwork. Referencing material culture, one can see the many textures and elements transforming each figure.
Valerie Blass’s figures hold in intense, psychological quality due to their lack of identities. Although there are many fine details in her work, Blass often leaves out the figures’ face. Sometimes, even part of the body is gone. These aspects are replaced by surreal characteristics such as a heap of black hair or a colorful, organic mass. Each piece of Valerie Blass’s takes on a life of their own, with their own, unique textures and colors forming a new kind of creature. Her work is both bizarre and beautiful all at the same time, leaving you puzzled about what exactly it was that you saw. This Canadian artist has an impressive body of work, with her art being owned in both public and private collections around the world.
The nightmarish sculptures of Italian artist Sasha Vinci are both alluring and unsettling. With the human body often being his subject, his work portrays a sense of longing, a palpable sense of a tormented soul. Having work with titles like The Eternal Wait and You Are Here You Exist, the suffering of human existence is strongly felt. Ripe with emotion, his mutated figures look for a sense of belonging in the world. His fleshy subjects seem to have skin that melts off their feet and hands, binding the two together. Vinci’s subjects are trapped by means of their own body, perhaps a metaphor for humanity’s own self-destructive nature.
Although monochromatic, we can almost see the color of flesh and blood absent in many of his sculptures. In his artwork titled The Eternal Wait, the drips of flesh coming down from the entire body add an intensely graphic, carnal element that is extremely alarming. We cannot see the face in this or any of Sasha Vinci’s figures, adding another layer of isolation to these already lonely creatures. One of Vinci’s more disturbing sculptures is The Hung, where a person’s body, or what’s left of it, is being hung. The body has been disfigured, with half of its limbs missing from its faceless body. The artist’s work forms a truly ominous atmosphere that draws you in while at the same time chilling you to the bone. Sasha Vinci, being a multi-talented artist, also creates work in mediums such as installations, performance, painting, drawing, and writing.
(via Hi Fructose)
Sculptor Sophie Kahn has merged new technology with old to haunting effect in her sculptures of incomplete women. Kahn initially worked as a photographer but became frustrated with working in two-dimensions. Modern 3d scanners initiate these sculptures, but the fragmentation of the figures is achieved by using the scanners in a way for which they were not designed. Kahn says:
“When confronted with a moving body, it receives conflicting spatial coordinates, generating fragmented results: a 3d ‘motion blur’. From these scans, I create videos or 3d printed molds for metal or clay sculptures. The resulting objects bear the artifacts of all the digital processes they have been though.”
The absences in these figures is what makes them so arresting. The elements that are represented are death-like in their pallor and stillness. There’s no sense of motion, instead the women look like they were captured post-mortem. Their peaceful body language and impassive faces contrast with their layers and patches. Like the juxtaposition of new and ancient techniques Kahn uses to create these works, the figures are both enduring and fragile.
“These scans, realized as life-size 3d printed statues and installed in darkened rooms as a damaged ancient artifact might be, serve as a incomplete memorials to the body as it moves through time and space.” (Source)
The imperfect sculptures reveal flaws, empty spaces, and altered textures. It speaks of the inability to ever really know a person, as if these pieces of the mapped and printed bodies are all that could be gathered.
“This concern with the instability of memory and representation is the common thread that weaves together the ancient and futuristic aspects of my work.”
Kahn’s fragmented women give form to the futility of capturing the essence of a life.
There’s a pervasive sense of childlike fantasy that seems to underline many pop surrealist works. Make-believe animals that don checkered coats, tight rope walkers and re-imagined cats all vibrate within and beyond the confines chosen by each artist at hand.
The alluring world of pop surrealism frequently ushers in a sense of mythical innocence and humor, unifying the superficial world of popular culture with the recesses of the unconscious. With underlying themes of fragility and the macabre delicately hidden beneath a veil of cultural kitsch, saccharine sweet dreamscapes transform and redefine a caustically bright world enamored with packaged goods. The fantastical worlds created through the lens of the following artists explores the relationship between the seemingly pristine and the accompanying bittersweet decay that dwells beneath it. Featured artists include: Casey Weldon, Mac Sorro, Rafael Silveira, Leslie Ditto, and Britt Ehringer.
Kostis Fokas is a rare photographer who possesses the innate ability to both create and capture personifications of the provocative in our human form. Challenging and sexually-charged, the work is visually reminiscent of fashion photography, but pulls inspiration equally from painterly compositions by using the body as a metaphor for sexuality, potency, and humanity. In a conversation with Beautiful/Decay, the London-based, Greek photographer explains, “Through my photos I wish to present a new take on the human body and explore its infinite capabilities. The use of quirky, and sometimes hidden faces communicates exactly that. Unlike photography that seeks to reveal the feelings of the objects portrayed through the use of faces and expressions, I shift my focus on the complete freedom pertained to the image of a human body. Stripped from its clothes, I leave it fully exposed and completely surrendered.”
With faces hidden and bodies often stripped bare, the human form becomes a landscape of tension, fully exploring the paradox of submission. A balding man running a brush over his head becomes a metaphor for self-conscious impotence and existential awareness, while a naked woman hovering over a cactus represents a more immediate (and less philosophical) danger. In Fokas’ work we realize that submission is often related to acceptance, mirrored by the artist stating, “Submissiveness often conveys surrender to something greater and more powerful than us.” This duality becomes both a metaphor for the nature of photographic direction, as well as for life, as the human experience is compressed into simultaneously simple and complicated gestures arranged by the photographer with willing participants, and captured on film.
When asked if the work’s sometimes daring exploration of sexual themes and sexuality is ever misinterpreted, or even offensive, Kostas diplomatically responds, “My images aspire to touch on some of these issues, among others, and definitely raise many questions but it is ultimately left up to each individual viewer to decide and reach his own conclusions.”
These are real legos. Nathan Sawaya works with the popular toy to create large-scale figurative sculpture. Legos’ shatter-prone tendencies and the plastic material involved lend a fractured, modern quality to these. The cold geometry involved in each sculpture sets up a nice opportunity for reflection, and Sawaya’s emotional posing of the figures spurs even further questioning.
But the sculptures work just as well when taken at face value: legos were, and are a lot of fun to play with.
Lately, Sawaya’s been placing 15-inch “Hugmen” in various public spaces (see above), adding a little love to the daily grind. Click past the jump for more lego sculpture.
Joseph Parra, who received his BFA in Painting this year from MICA, has started his career with a running start. Back in 2008, he worked with famed architect Richard Gehry as part of HBO’s Masterclass, and last year he completed a solo show at Galerie M in Milwaukee, WI. He distorts portraits of absentminded subjects with unorthodox techniques, employing sand paper and collage. Parra’s charcoal drawings, also figurative in nature, are equally of note. His drawings (like his prints) are ghostly. His figures are presented with little distraction, no context or background. This demonstrates a confidence in his image making. He’s showing us exactly what he wants us to see.
Danish artist Troels Carlsen warps classic anatomical illustrations of natural organisms to produce mixed media works on paper. I can’t tell if the drawings that Carlsen’s manipulating are originally produced by the artist or not (maybe a mixture of the two), but the images stand up well enough even without such information. On a purely visual level, the contrast between the illustrative anatomical drawings and Carlsen’s slightly humorous injections works really nicely. But these drawings hold conceptual tones as well. Thick commentary on the body and mind is laid out cleanly for all to see. (via)